Abbasid Dynasty, Xiv, 21, 86, 90, 96, 103 Cultural Competition With

Cambridge University Press 978-1-107-00477-1 - The Emperor and the World: Exotic Elements and the Imaging of Middle Byzantine Imperial Power, Ninth to Thirteenth Centuries C.E. Alicia Walker Index More information

Index

Abbasid dynasty, xiv, 21, 86, 90, 96, 103 Baghdadikia, 45 cultural competition with the Balsamon, Theodore, 126 Byzantines, 22 banquets, imperial, 146 emulation of Sasanian art, 28, 33 Barberini Ivory, 8, 75 intellectual rivalry with the Basil I, 47 Byzantines, 38–9 Alexander the Great as a model for, 125 relations with the Byzantines, 37, 38, 39–41, King David as a model for, 98 86, 88, 91 relationship with Michael III, 47–8 Abd al-Rahman II, 37, 42 rise to power, 48, 69 Abd al-Rahman III, 78, 90 triumphal ceremonies of, 60, 62 adoption, xvi Basil II, 182n23 definition of,xxi Saint George as a model for, 126 Alexander Romance, 96, 142, 169 triumphal ceremonies of, 62 imagery on the Darmstadt Casket, 123 Basilakes, Nikephoros, 130 produced for the court at Trebizond, 169 Book of Ceremonies, 86 Alexander the Great Book of Gifts and Rarities, 11, 80, 88, 93 as an imperial model, 95, 124, 125–7, diplomatic gifts exchanged between 169–73 the Byzantines and Abbasids, 88–91 ascension of, 123 diplomatic gifts exchanged between the compared to Darius, 127–31 Byzantines and Fatimids, 91–7 consulting an oracle, 124 diplomatic gifts exchanged between the depictions of on the Darmstadt Casket, Byzantines and Seljuqs, 97–103 123–4, 127–30 historical accuracy of, 96 encounter with the Brahmans of India, Saddle of Alexander the Great as a diplomatic 220n77 gift, 93–7 in Islamic tradition, 96 Vest with the Seal of Solomon as a Saddle of as a diplomatic gift, 93–7 diplomatic gift, 97–103 Alexios III of Trebizond, 169 Book of the Eparch, 38, 45, 89 Amorian dynasty, 10, 166 Bryas palace, 1, 3, 8, 21, 41–2, 43, 44 competition with the Abbasids, 38 continuity with the Macedonian dynasty, 20, Chinese art. See feng huang; Troyes Casket 45, 47, 63 Choniates, Niketas, 98, 135 Angelos, Alexios III, 145 Chrysotriklinos, 159–61, 162 Angelos, Isaac II, 126 decoration of, 2, 47, 161 Apollodoros, 115, 119, 122, 142 inscription in, 159 appropriation, xvi, 10, 50, 166 significance of in Mesarites’ ekphrasis of the definition of,xxi , 180n30 Mouchroutas Hall, 159 Axouch, Alexios, 155 Church of the Holy Apostles, 157, 163 Axouch, John, 130, 154 Church of the Theotokos at the Blachernae, 23

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256 Index

classicizing imperial reading of, 125–31 definition of,xx Sasanian-Islamicizing imagery in, 127–31 coins, 99, 121, 122 De Administrando Imperio, 83–7, 97 as bearers of official imperial imagery,2 , 46–7, designers, xvii 51, 73, 195n18 courtiers as, 9–10 Constans I, 73 Digenis Akrites Constantine I, 21, 73, 94, 126 palace of, 133 Constantine IX Monomachos, 92 diplomatic gifts, 77–9, 113, 142 Alexander the Great as a model for, 130, 136 ad hoc nature of in cross-cultural diplomatic relations with the Fatimids, 92–3 exchange, 106 Solomon as a model for, 98 amulets as, 106 Constantine V, 21, 23, 25, 34, 48 as a means to secure alliances, 85 artistic patronage by during Iconoclasm, 25 as expressions of social and cultural parity, 81 as a “Babylonian tyrant”, 24 Byzantine limitations on, 84–5 criticized by Iconophiles, 24 Darmstadt Casket as, 137 diplomatic relations with the Abbasids, 40 intentional ambiguity in the meaning of, Constantine VII Porphyrogennetos, 2, 167 83, 86–8 advice on the management of the Byzantine need to be suitable for recipient, 85–6, 97 empire, 84 relics as, 104–6 advice on the use of diplomatic gifts, Saddle of Alexander the Great as, 81, 93–7 83–6, 97 slaves as, 92 as a patron of the arts, 54 Troyes Casket as, 85–6 diplomatic relations with the Umayyads of vest with the Seal of Solomon as, 81, 97–103 Spain, 77 expansionist policies of, 77 ekphrasis reception of foreign ambassadors by, 102 as a record of viewer reception, 145, 153 recognition of Iconoclast emperors as as a tool of alterity, 162 imperial models, 62–3 in Byzantine rhetoric, 156, 157, 162, 223n5 rise to the throne, 61 of the Church of the Holy Apostles, 157, 163 Constantinople. See also Church of the Holy of the Mouchroutas Hall, 144–64 Apostles; Church of the Theotokos at the element Blachernae; Great Palace at; Hippodrome; definition of,xvii Milion emulation, xvi, 12, 22, 42, 166 cosmopolitan nature of, xiv, 10, 79, 81 definition of,xxi , 180n29 depicted in the Troyes Casket, 57 Mouchroutas Hall as an example of, 163 foreign visitors to, 42, 109 of Sasanian-Islamic art, 10, 20–1, 32, 42, 44 imperial game parks of, 65 Troyes Casket as an example of, 50 Muslim prisoners in, 89 Eustathios of Thessaloniki, 130 Constantius II, 59 exotic cosmopolitan, 37 definition of,xx definition of,xx , 179n25 exoticism, 179n24 expropriation, xvi, 113, 137, 140, 166 Darius Darmstadt Casket as an example of, 108–43 depiction of on the Darmstadt Casket, 129 definition of,xxi , 180n31 in Byzantine imperial panegyrics, 130 Darmstadt Casket, 94, 108–43 Fatimid dynasty, xix, 86, 103, 211n88 and imperial ideology, 134–7 relations with the Byzantines, 87, 91–4, 96–7 audience for, 122 feature dating of, 131, 134, 142 definition of,xvii

Index 257

feng huang, 16, 186n55 imagery of during Iconoclasm, 21, 23 and the date of the Troyes Casket, 53 in ancient art, 22 as a phoenix, 71 in Islamic art, 22 as a symbol of imperial conquest, 18, 75, 79 in the Troyes Casket, 16, 64–71 Chinese sources for, 71, 73 Sasanian-Islamic elements in textiles transmission of to Byzantium, 71 depicting the, 27 foreign hybrid definition of,xx definition of,xx

Geary, Patrick Iconoclasm, 20 social values of medieval relics, 104, 105 church decoration during, 23 Grabar, André, 13–17, 174, 177n8, 178n9, 206n4 emulation of Sasanian-Islamic art during, biography of, 13 20, 22–3 definition of official imperial imagery,1 3–14 imperial imagery during, 21–2 interpretation of foreign elements in imperial iconography imagery, 15–17 definition of,xvii possible impact of multi-ethnic nationalism identity, Byzantine, xviii–xix on scholarship of, 14–15 as defined in late nineteenth- to early Great Palace in Constantinople. twentieth-century Russian scholarship, See also Chrysotriklinos; Mouchroutas 14–15 Hall; Porphyra cosmopolitan nature of, 6 relics at, 104 formulated from Christian and Greco- Gregory IV, Pope Roman traditions, 15, 46, 165 as recipient of Iconoclast-era textiles, 36 formulated in relation to foreign cultures, 6, 12, 18, 19, 21, 112, 140, 167 Hamdanid dynasty, 90–1 Ikhshidid dynasty, 91, 96 Hegel, Georg W. F. imperial imagery. See also official imperial attitudes toward Byzantium, 184n41 imagery; unofficial imperial imagery; Herakles, 114 coins; Darmstadt Casket; Troyes Casket; and the cleaning of the Augean stables, 118 textiles and the rape of Auge, 121 anagogical nature of, 156 and the taming of the horses of Diomedes, 115 inclusion (rhetorical strategy) as an imperial model, 125 in the Darmstadt Casket, 132 consulting the Delphic Oracle, 119 incomparability, xvi, 167 depictions of on the Darmstadt Casket, definition of,xxi 115–22 the Mouchroutas Hall as an example of, Labors of, 114, 115 158, 164 with Melpomene, 117 indigenous Hermogenes definition of,xx Byzantine commentary on, 163 Innsbruck plate, 94 obscurity as a rhetorical strategy in, 163 Isaurian dynasty, 21, 23 Hippodrome, 7, 25, 42, 145 as a model for the Macedonian dynasty, 63 Holobos, Manuel, 222n121 Islamic art hunt. See also textiles Byzantine emulation of, 28, 44, 127 as a metaphor for battle, 68, 69, 75 Byzantine expropriation of, 127–30, 133, as an iconographic link between pre- and 137–40 post-Iconoclast imagery, 10, 16 definition of,xix cross-cultural relevance of hunting imagery, Islamicizing 78, 88 definition of,xix

258 Index

John the Fat. See Komnenos, John Komnenos, Manuel I Grand, 168 John the Grammarian, 1, 40 Kondakov, Nikodim, 14 embassy to the Abbasid court, 40–1 Justinian I, 8 labarum, 54 Justinian II, 46 largitio, 59, 69 laurata, 78, 90, 91 Khurramites, 43 Leo the Deacon, 125 Kılıç Arslan II Leo VI, 62 diplomatic visit to Constantinople, 109, attitudes toward Arabs, 76 135, 146 Solomon as a model for, 98 kiosk of, 147, 222n113 succession crisis of, 61 Kitab Hadaya wa al-tuhaf. See Book of Gifts and Liber Pontificalis, 36, 44 Rarities loros, 123, 218n46 Komnene, Anna, 125, 139 Komnene, Maria, 155 Macedonian dynasty, 166 Komnenian dynasty, 145, 166 Alexander the Great as a model for, 126 Alexander the Great as a model for, 94, attitudes toward Arabs during, 76 126, 130 continuity with the Amorian dynasty, association with the Darmstadt Casket, 45, 47, 63 112, 127 expansionist efforts during,76 attitude toward foreign cultures, 109 imperial imagery during, 46, 49, 51, 53, 69, Herakles as a model for, 135 70, 79 military saints as models for, 126 imperial succession during, 61 relations with the Seljuqs, 108, 109, 142 rehabilitation of Theophilos during, 48 Komnenos, Alexios I, 126, 154 al-Ma’mun, 37 Alexander the Great as a model for, 125 cultural competition with the Byzantines, association with the Darmstadt Casket, 112 38–9 Herakles as a model for, 125 diplomatic relations with the Byzantines, 38, 40 Odysseus as a model for, 133 Manganeios, Theodore, 135 relations with the Seljuqs, 154 Mantzikert, battle of, xv, 108 Komnenos, Andronikos I Mauss, Marcel, 82, 83, 208n24 Herakles as a model for, 135 Menander of Laodicea, 131 Komnenos, Isaac I, 3 Mesarites, Nikolaos Alexander the Great as a model for, 136 ekphrasis on the Mouchroutas Hall, 1, 144–64 relations with the Seljuqs, 103 Michael III, 47, 62, 63, 69 Komnenos, John, 144–5 imperial imagery under, 47 and the Mouchroutas Hall, 152–7, 158–9, relationship with Basil I, 47–8 161–2 rise to the throne, 20 circumstances of rise to the throne, 146 Milion, 24 criticism of, 156 military saints. See also Saint George family lineage of, 145, 154 as imperial model, 125–7 Komnenos, John II, 2, 154, 155, 161 Mitchell, W. J. T., 162 Alexander the Great as a model for, 130 mixture (rhetorical strategy) Saint George as a model for, 126 in the Darmstadt Casket, 132 Komnenos, Manuel I, 126, 131, 134, 155 Mouchroutas Hall, 1, 3, 8, 144–64 Alexander the Great as a model for, 130 anti-anagogical reading of, 158 association with the Darmstadt Casket, 112 date of construction, 146 diplomatic relations with the Seljuqs, 109, 135 form and decorative program of, 146–9 Eros as a model for, 135 models for in Seljuq architecture, 147

Index 259

origins for name of, 146 al-Radi al-Mu’izz, 93, 96 relations with the Byzantines, 88–91 conquest of Egypt by, 96 regalia, imperial, 53, See also labarum, loros, multi-ethnic nationalism. See nationalism, prependoulia, stemma, toupha Russian relics. See also Geary, Patrick; Weiner, al-Mustansir, 96, 209n59, 210n69, 211nn86 and 92 Annette diplomatic relations with the Byzantines, 92, of Solomon, 102 96, 97 political value of, 104–5 al-Mu’tasim, 37 Roman-Byzantine muqarnas, 146, 147, 167, 169 definition of,xviii Myriokephalon, battle of, xv, 108 Romanos III, 136

nationalism, Russian Said, Edward, 17, See also orientalism in Byzantine historiography, 14 Saint George in the work of André Grabar, 15 as an imperial model, 125–7 numismatic imagery. See coins on the Darmstadt Casket, 125 sarcophagi, Roman official imperial imagery,xiii , 2–3, 12–13, as models for the Darmstadt Casket, 155, 178n9 114, 115 Christomimesis in, 2, 161 Sasanian art, 127 definition of,xvii Byzantine emulation of, 10, 16, 21, 22, 23, 25, divine endorsement in, 2, 8, 51–2, 155 27, 28, 44 On Imperial Military Expeditions, 62 Byzantine expropriation of, 135 oriental, xix, 178n17 hunting imagery in, 22, 33, 71 orientalism, 153 Sasanian dynasty, xiv, 28 in medieval studies, 179n17 continuity with later Islamic dynasties, xix “other”, the, 143n15, 178 relations with the Byzantines, xv Sasanian-Islamic palaces definition of,xix as images of imperial authority, 1–2, 42 Sasanians parity, xvi, 11, 166 images of in Byzantine art, 7, 8 definition of,xxi images of in Sasanian art, 28, 29, 33 in diplomatic gift exchange, 83, 93 Seljuq art Parthian Shot, 16, 70 Byzantine emulation of, 145–9 patrons, xvii Byzantine familiarity with, 162 courtiers as, 9–10, 112, 137, 141, 222n121 Seljuq dynasty, xv, 92, 94, 103, 223n7 phoenix Darius as royal model for, 131, 135 as an imperial symbol, 71 relations with the Byzantines, 97, 103, 108, Phokas, Nikephoros II, xv, 77, 89, 125 109, 130, 135, 145 Saint George as a model for, 126 Solomon as a royal model for, 99 Porphyra, 51 Skylitzes, John, 130 prependoulia, 53, 54, 56, 58 Solomon (biblical king) “princely cycle” imagery, 94, 127, 146, 149 in Byzantine tradition, 98–9 Prodromos, Manganeios, 130 in Islamic tradition, 99 Prodromos, Theodore, 125 relics of, 102 Psellos, Michael, 87, 94, 125, 136, 155 throne of, 102 purple vest with the Seal of as a diplomatic gift, as an imperial color, 50–1, 84, 89–90 97–103 dye as a controlled substance, 89, 91 stemma, 58, 60, 198n48

260 Index

Strzygowski, Josef Trebizond, court at, xv André Grabar’s response to, 15 cosmopolitan nature of, 12, 168, 173 style Troyes Casket, 18, 185n55 definition of,xvii André Grabar’s analysis of, 16–17 syncresis (rhetorical strategy) as diplomatic gift, 77–9 in the Darmstadt Casket, 131–2 dating of, 52–6 iconography of end panels, 71–6 taxis, 2 iconography of front and back panels, 64–71 Testament of Solomon, 98 iconography of lid, 57–64 textiles, 21, 23–37, 44 imperial associations, 50–2 and the Troyes Casket, 54–6 imperial succession as theme in, 61–2 as diplomatic gifts, 34 Roman-Byzantine iconography in, 59–60, dating of, 36 66–7, 69–70 depicting charioteers, 25 True Cross depicting hunters, 28, 29, 30 as a diplomatic gift, 11, 105 depicting the imperial hunt, 23, 25–35 as a symbol during Iconoclasm, 21 Sasanian-Islamic models for, 22, 27–8, Tughrul Beg, 92, 97, 99, 103, 106, 210n66, 29, 30 214n130 use of at the Byzantine court, 34 Tzimiskes, John I, xv, 2, 77 Theodora (wife of Theophilos), 20, 47 Saint George as a model for, 126 Theodosios I, 8, 63 obelisk of, 7, 75 Umayyad dynasty Theophanes continuatus, 1, 39, 41, 48 of Spain, xix, 37, 42, 86, 102, 103 Theophilos, 63 of Syria, xiv, 28 and the Bryas palace, 1, 41 unofficial imperial imagery,6 , 178n9 as an imperial model in Macedonian era, 63 audience for, 8 association with Sasanian-Islamicizing definition of,xvii textiles, 37 emulation of Sasanian-Islamic art, 37, 42 Valentinian I, 69 rehabilitation of under the Macedonian Vasiliev, Alexandr A. dynasty, 47–9 possible influence on the scholarship of reign of, 21 André Grabar, 185n47 relations with the Abbasid dynasty, xiv, 37, 38, viewers, xvii, 159 40, 43 courtiers as, 9–10, 79, 142, 164 relations with Umayyads of Spain, 37, 42–3 Theophylaktos of Ohrid, 133, 141 Weiner, Annette, 208nn24 and 25 toupha, 69, 202n108 “inalienable” possessions, 105